これは平凡な人生をもう一度やり直す、平凡な女性のお話。バカリズムが壮大なスケールを持て余し、不思議な日常を描く地元系タイムリープ・ヒューマン・コメディー。ドラマ『ブラッシュアップライフ』のオリジナル・サウンドトラック。 (C)RS

【朝简】《贤文冬至乐会》虽迟必到如约而至！
更由“前缘”幸获各家芳伶助阵《雪赋》《悲愤诗》《续诗品》等共《童媛世界》乐观未来...为【朝简】贤文四季圆满终成。
《贤文冬至乐会》
制作：窦唯 朝简
录音混音：李杰
录音时间：2019~2022年
录音室：光华路李乐府
鸣谢：李牧谣 姜培培 野川 郭玮 逸飞 窦靖童 窦佳嫄 杨子江 倪培豪 淼淼

57ヵ国で1位を獲得した前作『ハードワイアード...トゥ・セルフディストラクト』から6年半ぶり、待望の12枚目となるスタジオ・アルバムが完成。先行シングル「ルクス・エテルナ」は、40年に及ぶメタリカの軌跡を3分半に凝縮した、短くも鮮烈な爆発的シングル。

Bob Dylan’s re-recordings and rearrangements of some of his old songs, first premiered on Alma Har’el’s 2021 film Shadow Kingdom: The Early Songs of Bob Dylan, will be released on audio formats for the first time in June.
The songs featured include ‘Forever Young’, ‘It’s All Over Now, Baby Blue’, ‘I’ll Be Your Baby Tonight’, ‘When I Paint My Masterpiece’ (first released by The Band in Sep 1971 on Cahoots before Dylan included his recording on 1971’s Greatest HIts Vol. II a couple of months later) and other great catalogue gems such as ‘Queen Jane Approximately’ and ‘The Wicked Messenger’.

Unlike their recent improvisation series “wʌndərlænd” and “Scene” which dive into the unexpected moments of their daily lives and sound experimentation, or their widely-acclaimed film scores for “An Elephant Sitting Still” and “Wuhan Wuhan” which are pensive, meditative and precise, “Tempus” makes a very friendly and energetic gesture, asserting where Hualun, as a group of music deviants that have been constantly refining and re-inventing their own sound for nearly 2 decades, stand at the very moment. A sense of purpose can be easily felt through the dedicated selection and editing of the improvised materials, the condensed song structures, as well as the thoughtful sequencing of the tracks: Hualun conjure up a vast expanse of wilderness, which gradually becomes the backdrop for running horses, forests, manufacturing lines, TV screens, city lamplights, and sceneries of the decaying societies - it is as much an ode to the evolution of human civilization as a funeral toll for the uncertain future.
With the surprising presence of various rhythmic elements, the use of sampling, and most importantly, the vivid live instrumentation they honed during countless nights of closed-door improv sessions, “Tempus” is everything but a reoccurrence of any existing genre. Hualun's musical roots such as krautrock, punk rock, and experimental electronic music are fused with ambient, hip-hop, and even dance music that the city-dwelling members are (in)actively exposed to in the modern-day life environments, and thus melted into a "unperiodizable" amber of pure energy and excitement.
Ding Mao丁茂-Synthesizer合成器
Zhu MK朱明康-Guitar吉他 / Synthesizer合成器
Rubey Hu胡超-Keyboard键盘
Wang Wei王伟-Bass低音吉他
Composed and Produced by Hualun
歌曲创作及制作：花伦
Mixed and Mastered by Michael Wheeler, Silver Wave Sound, Scotland
混音及母带 制作：米高伟拿（苏格兰）
Recorded at NSO Studio, Shenzhen, 2021
二零二一年录制于深圳 NSO Studio
Coverart Designed by Ding Mao
封面設計：丁茂

《琵琶行》朝简与女须生姜培培女士再度演绎古人美文…
司职：
制作：窦唯/朝简
吉它：李杰、文大可
女声：姜培培
贝斯：何锋
男声旁白/箫/合成器：窦唯
封面绘画：任重

A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.
Wrocław and Lahore are almost 7,000 kilometers apart. And despite this immense distance that separates the EABS and Jaubi musicians, the two bands find a surprising amount of common ground that determines their musical explorations. These include both a strong attachment to locality and respect for tradition, a penchant for weaving in some hip-hop elements, and the basis of a love of improvisation and spiritual jazz. It was therefore only a matter of time before they joined forces. And so, they proceeded to build a (cross)cultural bridge between Poland and Pakistan. A bridge whose pillars are Hindustani ragas, polish jazz understood in a variety of ways, and brotherhood in sound. This merger's finale is surprising to such an extent that it is difficult to pigeonhole this collaboration in any way.
They met through the Get Your Jazz Together programme, which was launched by the Adam Mickiewicz Institute to help build such bridges. The following day after Jaubi's premiere concert at the OFF Festival in Katowice, the musicians went to Monochrom Studio in Kłodzko Valley, where they spent a week making music together, exchanging ideas and compositions. The outcome of the collaboration surprised them all, materializing in rather dark shades. So how did this happen, given that the recordings were realized in picturesque natural circumstances mid-summer? It was only yesterday that the pandemic restrictions were lifted, the inflation is raging, Russia has invaded Ukraine and no one in our region can be sure of peace anymore, while Pakistan has faced the worst floods in years. So much upheaval has been delivered by the world in recent times that the experience of the past has left its mark even on a sunny present day. Against all odds, however, the musicians are seeking solace, hoping that the tomorrow that is yet to come will finally bring something better.
Even after the darkest night, however, comes day. It is known to the group from Lahore, who, often challenged by life, have already sent prayers for peace through their previous album. This is also known to the band from Wrocław, whose musical paths are inextricably bound up with the difficult and painful history of their homeland, and who have already experienced the era of unearthing their foundations and cosmic escapism in the spirit of Sun Ra. Today, they are walking swiftly towards the sun, all together, a group of eight artists whose lives are separated by their place of birth – the cultural education they received and the musical tradition they grew up in – but who are united by that one phrase, melody or emotion which gave origin to each of the compositions collected on the album titled In Search of a Better Tomorrow.
The joint album by EABS and Jaubi will be released by Astigmatic Records in digital, CD and LP versions, as well as a limited edition designed by Sainer, one of Poland's most exciting visual artists. The album is scheduled for release on 12 May 2023.
credits
releases May 12, 2023
Members of EABS:
Marek “Latarnik” Pędziwiatr - Grand piano, Fender Rhodes Mark II, Nord Stage 2, Moog Voyager;
Marcin Rak - Drums;
Paweł “Wuja HZG” Stachowiak - Bass guitar, Moog Little Phatty;
Olaf Węgier - Saxophones: tenor, sopran; bass clarinet;
Jakub Kurek - Trumpet;
Members of Jaubi
Ali Riaz Baqar - Guitar
Kashif Ali Dhani - Tabla, Vocals
Zohaib Hassan Khan - Sarangi
Executive production, A&R: Łukasz Wojciechowski, Sebastian Jóźwiak
Studio: Monochrom (07-11.08.2022)
Engineered by: Ignacy Gruszecki
Mixed by: Ignacy Gruszecki & EABS
Mastering: Marcin Kwazar (BazaRec)
Graphic design: Sainer
Text: Filip Kalinowski
Translation: Magda Marcinkowska
Photo: Hubert Misiaczyk



© 2023 EABS & Jaubi
(P) 2023 EABS, Jaubi & Astigmatic Records
All Rights Reserved
license

草东2023年新专辑

老丹 Lao Dan：萨克斯 Alto Saxophone, 笛子 Di Zi, 自制笛 DIY Flute, 人声 Vocal, 效果器 Effects Unit
李带菓 Li Daiguo：古筝 Guzheng, 低音提琴 Double Bass, 大提琴 Cello, 塔不拉鼓 Tabla, 模拟合成器 Analog Synthesizer, 中国鼓 Chinese Drum, 锣 Gong, 踩镲 Hihat, 地鼓 Bass Drum
录制于2021年11月 云南·大理
Recorded in Dali, Yunnan in November 2021
录音/混音 Recording & Mixing: 李带菓 Li Daiguo
母带 Mastering: 刘英 Liu Ying
制作人 Producer: 涂飞 Tu Fei
统筹 Coordinator: 陈铁梅 Chen Tiemei / 尹思卜 Yin Sibo
封面木刻作品 Front Cover Woodcut Artwork: 刘庆元 Liu Qingyuan
设计 Design: 林溪 Lin Xi（来信收悉工作室）
2019年老丹、李带菓在OCT-LOFT国际爵士音乐节上的现场演奏专辑《互念暗语》犹如神来之笔，两人在几乎没有任何提前沟通的情况下，完成了一场至今令人记忆犹新的演出。
2021年11月，老丹赴云南与李带菓会合。在大理，他们进行了大量的创作与尝试，从原声乐器演奏到乐器插电，从中国乐器再到西洋乐器，从民族音乐延伸到实验音乐，他们的演奏与乐器使用又有了新的方向，顺便把组合名称也一并更改了，由原来开玩笑起的“奔波儿灞与灞波儿奔”，改为更国际化的名字“哔哔哔 哔哔哔”。
这张专辑是他们从这次合奏的众多录音作品中精选的一些具有代表性和突破性的乐曲，乐器多元，音乐丰富、驳杂而纯粹。两人除了拿手的主打兵刃之外，对效果器、中国锣、塔布拉鼓以及模拟合成器的古怪运用令人印象深刻。
就像最后一首乐曲的名字《事成之后，你七我三》一样，幽默感是无处不在的，巧妙的是，这丝毫没有让这张自信厚重的唱片变得轻佻，反而更加丰富了它的层次。
人生一场大梦，何苦逍遥。
长在你耳朵里和藏在我脑袋里的天线，此刻应该已经接收到他们的信号了
—— 哔哔哔 哔哔哔。
（涂飞）

2023年5月 初夏，
回到高雄 回到愛河前
本週五 即將發行最新作品
〈月夜愁2023〉
‘’ 我們想在一首如此經典的台語歌曲裡，
融注入21世紀的人的情感，
並且把地點從 北部 移到 南台灣的海港都市，
用 時間、氣溫和海水來
實驗它的可能演化。‘’

时代的骤变推动着人心的改变，重新校对生活的尺度，用更多的相信与爱去与世界和解。2023年，岛屿心情的新专辑《小龙人》以过往的生活经历去参与了当下社会的诸多议题，乐队以全新作品袒露心声，言之有物地总结思考和表达，在集体的生活与创作中，攫取灵感，互相成就。岛屿心情的音乐不再拘泥于某种风格、地域或者是态度。而是以亲历者的姿态，连接起所有人共同面临的境遇。介于感性与理性的融合，严肃与抒情之间，岛屿心情的音乐更像是连接、沟通与和解的工具，在生活中发现问题，思考触动，表达状态， 从一个个破碎的过去中新生出一个新的开始，走出孤岛，振作起来，感受生命的反复，真实地面对生活。
有时怨恨他人，
有时责怪自己。
有时别人对我说，
有时我对自己说。
清醒，沉迷。
反思，振作。
突破，包容。
周而复始
——岛屿心情史维旭
文/by 郭小寒

嗨！好久不见！您觉得五年在人的一生中，是尺子上的几格呢？嗯……这个格子可能长到让一个人从青涩少年成为合格的螺丝钉？也可能短到只够见证一次相遇或一次别离。
对总说着自己很随意的动物园钉子户来说，五年像是一场轻描淡写的梦。这场梦裹挟了我们太多的嬉笑怒骂、裹挟着亲人友人的离开；裹挟着一次次灵感的闪烁、自我怀疑又反复拉扯；裹挟着对时代无意义的惆怅，也裹挟了太多如鲠在喉的苍白言语。所有的这一切是那样真实地在时间的尺度上延展着，告诉我们：差不多该记录些什么了。
所以这依然是一张普通记录性质的专辑，由分居异地的动物园钉子户随意创作，在租金2800元的卧室内随意录制完成。唉……但偶尔也想表现自己认真成熟的一面……好吧这确实是我们有在认真DIY的专辑，虽然听起来可能有点冷峻和自闭！但如果您恰好喜欢的话，那真是太好了太好了！谢谢！
明天会更好！

《但愿人长久》是发光曲线继《迷航》（2013）和《荒野星》（2019）之后的第三张录音室大碟，2023年6月1日在BADHEAD厂牌出版，数字上线之际，CD同步发售。
专辑封面为艺术家马良的作品《上海最后一个骑士》，内页则用了CG艺术家Luzhan的《合影》，第五首《起源：残响》的实地录音和硬件噪音来自噪音铁男梅志勇。
“所有音乐创作于2020-2022年之间。前几年，当你说希望一切顺利，对方一般都回答：“但愿”。而人之所以为人，就是那点希望、欲望还有绝望，这是机器人AI无法替代的部分。“长久”是关于对时间的理解，我们并不知道当前的我们处于人类历史上的哪个位置，似乎生活在未来，又像在远古。专辑名的英译“Life is a Moracle”，源自库斯图里卡电影《生命是个奇迹》，把Miracle换成了Moracle，将Moral寓意和卜辞Oracle嫁接。生命—活着—活下来是一个奇迹，我们活着，是一件特别神秘的事情。当人类不断面临新的灾难，当个体被策略剥夺，甚至塑成了新的伦理新的法律新的礼仪，人是否还是人、所谓文明、秩序到底是什么呢？经历这些，甚至生出一种新的情绪，像加缪的《局外人》所写：灼热艳阳下沙滩折射出点点光华，莫尔索却在那四发子弹的轰鸣中忘记了一切。我试图在这张专辑里描述它。”BY薛大染
“《但愿人长久》是Covid—19和ChatGPT时代，一卷烧焦的摇滚心史，而灰烬的余光，恍然照见一个又一个喜剧小丑，兴高采烈地驾驶着饥饿的购物车，争先恐后地坠入乌托邦黑洞。发光曲线如今唱得更为老谋深算，编曲空间压迫感加重，仿佛杀伐声回荡于深渊和高原。已经难以再用青春——哪怕是“残酷青春”——的主题来凭吊伤怀了，他们正在更坚定地，向更昏暗的地方走去……十年一觉，可以将发光曲线的三张录音室大碟——《迷航》、《荒野星》、《但愿人长久》——当做三部曲，铭刻在失忆的时代坍塌的残碑。”BY张晓舟

朝简以当代音乐手法重新演绎古戏…致敬传统国粹艺术从业者！
司职：
制作：窦唯/朝简
录音混音：罗皓
氛围吉它：文大可
六弦琴：李杰
钢琴/人声：窦唯

環球唱片
特別呈獻
Alan Tam譚詠麟《傾聽好時光》
2023 SACD專輯 (限量編號版本)
好歌值得一再傾聽
譚詠麟再給歌迷
送上音樂大同與不同
SACD獨有版本
追加收錄3首全新粵語歌：
路過人間、勿忘心安、微笑達人

Evan Parker made his first trip to North America as a performer in the fall of 1978 touring solo in the US and Canada. His landmark solo record Monoceros had been recorded in April. This is a recording of his first solo performance in New York City. While it may lack the sonic fidelity of Monoceros, its raw passion makes a statement to the New York audiences lucky to have been at Environ that October evening.releases June 2, 2023

Evan Parker - soprano saxophone (1,3,5,6) tenor saxophone (2, 4)
NYC photo by Thomas Struth

罗大佑回到高雄爱河前 2023重量新作《爱河人间》
重现13岁少年时的光阴，细数启蒙音乐人生的时光拼图
2020-2023疫情初始与解封的冲击及演变下，罗大佑重新翻阅自我音乐人生的对话与足迹，决定重回创作生命的萌芽地——高雄，那爱河水流经的盐埕区；这里是当他还是个13岁少年时，初中二年级，1968年寒假转学到高雄，居住就学成长至少十年光景的地方，至今，仍深深影响着他，罗大佑音乐人生的雏形丶好奇与爆发，从这里开始。
13岁到24岁间，在高雄生活的种种珍贵记忆，造就现在的罗大佑：父亲因兴趣及热情带回家的珍奇乐器与古怪酷炫的录音器材，生平的第一把电吉他到组成自己的乐队，第一次穿西装参与兄姐的婚礼并担任司琴，第一次坐飞机，第一次意识到要成为社会人必须经历的高中考试丶大学考试丶机车及汽车驾照考…等等这些，平凡日常又重要的日子；城市会变老会翻新，但记忆与情感里所保存的温度，永远都在，历久弥新，当我们重头「再走一遍」，脑海中的时光故事像是从来没有这样清晰过般，历历在目，一一浮现。
在全新创作《爱河人间》中，罗大佑重现少年时惊人的视觉丶嗅觉与回忆深处交揉的70年代的高雄市地图，一幕幕汲取群体记忆的深情画面，如《童年》一曲的心意，词曲生动拼贴出一幅细节情感递进的城市拼图。
这条爱之河，有高雄游子熟悉的，海水咸咸的味道
经过盐埕出旗津，爱河的水通往全世界
罗大佑：“爱河的流量长度没有特别显著之处，但它一直在流，就像生长与来到高雄的人们，在外地生活时不太会主动提起高雄，但他们的存在就像浪潮一样不断在高雄拍打着，不断制造热闹；就像爱河本身一样，没有特别显眼，但一直不断在滚动；而这也跟我家里的情况很像，父亲是我开始玩音乐的启蒙，他打造良好的音乐环境，让三个孩子在家不断玩着乐器制造声音；那是一个讲不出来的东西，这个讲不出来的东西才叫作爱，一讲出来就没意思了，这份感受是需要时间累积的”。
每个人不论在人生的哪个阶段，时而停驻，时而断续或者前进，都在找这份生命中以各种样貌形式存在的归属感，或许这份追寻在远方，或许在原来不曾遗忘的地方。
恍若昨天的《童年》，今日的《爱河人间》，离家的年轻人们啊，这条回家的路，我们继续往前走下去。